This 1902 bronze was described by the artist as “four cowboys on running
horses…men shooting pistols and shouting.” In selecting the subject of his
eighth bronze, Remington revisited an image he had twice earlier depicted
in an illustration published in Century Magazine and several others around
that time. The illustration vividly depicted recklessly spirited cowhands
coming into town for a weekend of revel rousing and fun.
This was a fine example of a three dimensional study of western sculpture.
Remington’s technical virtuoso was truly demonstrated in this piece more
than any to date, with only six of the sixteen hooves touching the ground.
This may not have always been Remington’s idea to have six of the hooves
on the ground, as in an original picture of the base sketch it appeared
that Remington had intended to have five hooves down and eleven in the
air. Later Remington wrote the founder Riccardo Bertelli and told of the
changes that were made. The casting of this piece was closely overseen by
Remington, (later related by people in the workshop) this was common for
his larger pieces. The sculptures numbered nine through fifteen were
weaker in appearance than that of previous pieces. Also, though careful
examination, experts have noticed that the signature on number nine is
uncharacteristically sharper than its predecessors, indicating the piece
had been re-worked, strengthened and made without a foundry marking. This
may indicate that any piece after that number was produced by artisans at
the foundry.
To Remington’s delight this piece was one of the only two purchased in the
entire 1905 by the Corcoran Gallery of Art in Washington D.C. Not
surprisingly, this sculpture has remained one of the most popular and
sought after pieces to date, both in the eyes of the public and private
collectors alike.